You can't remember the plot of the Dr Who movie because it didn't have one, just a lot of plot holes strung together. It did have a lot of flashing lights, though.
It was exactly the same on the South Park movie really too. There's lots of violence in that too, but it always came down to anything sexual... They don't care about anything else.
All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.
I used to sit on the couch, and I could go through a pound of Brie cheese and a movie. I was like, 'That's enough,' because it feels like a bowling ball in your stomach.
I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.
For all its flaws, 'The Hands of Orlac' really is a seminal film, and if you're partial to that particular B-movie subgenre of Demon Body Parts, you really ought to see it.
I am capable of holding the quote-unquote 'title' of leading man. Leading man just means people want to see you and assume that you can hold a film, carry a movie.
When I first came to California, it was fun and exciting to get any part in any movie and get paid for it. Because of my size and my background, it seemed like I was right for just about anything.
I always laugh and say, 'Dudes, if I have to choose, I'm a political person first. I would never do another movie again and be completely happy.' I need to say how I feel.
I used Vamps as a casting couch! I pretty much did, because I was casting 'L!fe Happens' while I was on the set of Vamps, and anybody I had ever worked with, I asked to be in this movie.
You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.
People think I must have been turning cartwheels on the night I sealed the movie deal - which was only two days after sealing the book deal - but I was really quite terrified.
Having a lot of people suddenly depending on me to get the job done was a marvelous motivator. The book and movie deals seemed to flip a switch in my head, and off I went.
The only pitch I have to movie people is the same as this one: Just give me $8 million. I'm not telling you what it's about and I'm not telling you who's in it.
Often in the past, there have been authors that were deeply disappointed in their adaptation, but that's because they haven't accepted the fact that a movie is a different thing, and it can't possibly be the same as the book.
When I was eight years old I went to visit my brother who was working on a movie of the week with my mother and I saw how much fun he was having and I decided I wanted to try it too.
Nobody's favorite movie is some dark, dysfunctional slasher story. Everybody's favorite song is a sentimental song. So why all of a sudden is it bad to be sentimental in books?
I'm a kid that went to theater school. I thought I was going to be making my living doing plays regionally or in New York or on Broadway, and maybe if I got lucky I would do a movie here or there.
I'm obsessed with Michael Fassbender. He's unbelievable. I think he's a modern day Brando. Every movie that he's done in the past couple years, I just died for him. He's extremely fascinating.
'One Flew Over the Cuckoo's Nest' is a movie that I just find flawless. Jack Nicholson... I just saw 'The Shining' again the other day; he's so brilliant. He's such a brilliant actor, just unbelievable.
The thing with film is that it's so wide-reaching compared to comedy. When I release my comedy special, half a million people will see it. If I release a movie, five to ten million people will see it.
